10 Key Texts on New Media Art, 1970-2000

Total Page:16

File Type:pdf, Size:1020Kb

10 Key Texts on New Media Art, 1970-2000 10 Key Texts on New Media Art, 1970-2000 Lev Manovich 1. Gene Youngblood, Expanded Cinema (New York: Dulton, 1970). 2. Jasia Reichardt, The Computer in Art (London: 1971). 3. Cynthia Goodman, Digital Visions: Computers and Art, (New York: 1987). 4. Friedrich Kittler, Discourse Networks (Stanford, 1990). (Original German edition 1985). 5. Michael Benedikt, ed., Cyberspace: First Steps (Cambridge, Mass.: 1991). 6. Artinctact 1: Artists’ Interactive CD-ROMagazine (Karlsruhe, 1994). 7. Minna Tarkka et all, eds., The 5th International Symsposium on Electronic Art Catalogue (ISEA), (Helsinki, 1994.) 8. Peter Weibel et al, eds., Mythos Information: Welcome to the Wired World. Ars Electronica 1995 Festival Catalog, edited by Peter Weibel (Vienna and New York: 1995). 9. Espen Aarseth, Cybertext: Perspectives on Ergodic Literature (Baltimore: 1997). 10. Ulf Poschard, DJ Culture (London, 1998). (Original publication in German, 1995). Working on my assignment to select “written works considered important to the history of digital art, culture and technology” turned out to be quite difficult. In contrast to other art fields, the short memory of digital art field is very short, while its long term memory is practically absent. As a result, many artists working with computers, as well as curators and critics who exhibit and write about these artists, keep reinventing the wheels over and over and over. And while other fields usually have certain critical / theoretical texts which are known to everybody and which usually act as starting points for the new arguments and debates, digital art field has nothing of a kind. No critical text on digital art so far has achieved a familiarity status that can be compared with the status of the classic articles by Clement Greenberg and Rosalind Krauss (modern art), or Andre Bazin and Laura Mulvey (film). So what does it mean to select “written works 1 considered important to the history of digital art”? The field did produce many substantial texts that were important to it at particular historical points, but since these texts are not remembered, they have no bearings to its current development. If you think that I am overstating my point, consider the following example. Think of important museum shows and their catalogs that act as key reference points in the field of modern art. How many among visitors to Bitsreams (The Whitney Museum, 2001) and 010101: Art in Technological Times (SFMOMA, 2001) knew that thirty years ago the major art museums in New York and London presented a whole stream shows on the topics of art and technology. Taken together, these shows were more radical and more conceptually interesting than the current attempts of art museums to come to terms with new media. Here are some of them: Cybernetic Serendipity (ICA, curated by Jasia Reichardt, 1968), The Machine as Seen at the End of the Mechanical Age (MOMA, curated by K.G. Pontus Hulten, 1968), Software, Information Technology: its Meanng for Art (Jewish Museum, New York, curated by Jack Burnham, 1970), Information (MOMA, curated by Kynaston McShine, 1970), Art and Technology (LACMA, curated by Maurice Tuchman, 1970). While the number of online exhibitions which were organized by Steve Dietz at the Walker, the recent exhibitions at the Z Lounge at the New Museum in NYC (Anne Barlow and Anne Ellegoood), the shows/events curated by Christiane Paul at the Whitney and Jon Ippolito at the Guggenheim all are quite sophisticated, all of them are also small-scale affairs. In terms of large-scale museum recent museum surveys, only the one at SFMOMA (2001) can be compared to the exhibitions of the thirty years ago. It was an ambitious attempt to sample the whole landscape of contemporary culture in order to present how artists and designers across a number of disciplines engage with computing on a variety of levels: as a tool, as a medium, as iconography, as a source of new perceptual, cognitive and communication skills and habits. In comparison, the show at The Whitney was a truly reactionary affair. Here was a show on new media art that did not include any computers or interactive works. Instead, new media was reduced to flat images on the walls: stills presented as digital prints or moving images presented 2 with projectors or plazma screens. The descriptions on the works positioned them within the familiar and well-rehearsed narratives and categories of standard twentieth century art textbooks. In short, new media was neutralized, diluted, rendered harmless, similar to the way commercial culture takes over most of the new radical cultural developments, from hip-hop to techno. In contrast, just reading the titles of the exhibitions that took place thirty years ago you can see that they engaged with the new categories and dimensions of the emerging techno-culture. In terms of the works and projects presented, the museums similarly were not afraid to invite new technologies and new types of artistic practice within their spaces.1 For example, The Machine as Seen at the End of the Mechanical Age presented works by 100 artists, including commissioned collaborations between artists and engineers under the umbrella of EAT (compare this to current practice of US art museums to commission “net art” which then can be safely “tucked away” on museum Web sites instead of the actual galleries.) Software exhibition included a number of works which used PDP-8 computer in the museum, while Information engaged with information and communication revolution on a conceptual level by presenting a number of projects which asked the viewers to engage in particular communication scenarios constructed by artists, who included Vito Acconci and Hans Haacke). Given the systematic absence of long-term memory in digital art field, just ten texts would not be enough to reconstruct its rich fifty-year history. So here is the selection algorithm I ended up following: (1) Given my limit of ten texts, I decided to be a little subjective and to give weight to the texts that were particularly important for me since I first learned about digital art. 1 For more information on these shows and other important milestones in the fifty year history of computer and telecommunication art, see excellent Telematic Timeline produced as a part of the show curated by Steve Dietz (http://telematic.walkerart.org/timeline/). 3 (2) Given that the digital art field does not really has a set of “canonical” critical texts, I instead selected a few texts which at different decades acted as key reviews of the field (The Computer in Art, 1971; Expanded Cinema, 1970; Digital Visions, 1987). (3) Since the annual festivals/exhibitions such as Ars Electronica, ISEA and SIGGRAPH played the key role in development of the field, I next included couple of representative catalogs from the particularly important meetings (ISEA 94, Ars Electronica 95). (4) I then added the first publication from ZKM’s Artinctact series (artinctact 1, 1994). Early on, ZKM solved the two key problems of the digital art field – distribution and criticism – in a particularly elegant and efficient way. Every year since 1994 ZKM published a CD-ROM/book. CD-ROM would contain 3 interactive art projects while the book would present critical texts about each of the projects (today ZKM continues this successful format with new series which use DVD-ROM instead of CD-ROM). By following the book format and by teaming up with a major German book publisher, ZKM assured that artintact would be distributed through the standard book distribution channels. (It only took the Whitney eight years to catch up: Whitney 2002 Biannual catalog similarly included a CDROM attached to the front cover.)2 (5) While digital art fields does not has a canon of critical texts about the art itself, most people in it are familiar with at least some theoretical texts dealing with the larger topics of digital technology / culture / society. I think that in fact a number of such theoretical texts act as equivalent of canonical critical texts in other art fields. Since I had the limit of ten texts total, I could only include a small sample of such theoretical works. I choose Discourse Networks by Friedrich Kittler (1985; English edition 1990); Cyberspace: First Steps, edited by Michael Benedikt (1991), DJ Culture by Ulf Poshardt (1995; English edition 1998); and Cybertext by Espen Aarseth (1997). But I could have equally well selected books by Katherine Hayles, Sherry Turkle, W.J.T. Mitchell, Paul Virilio, Peter Lunenfeld, Jay David Bolter, Pierre Levy, Geert Lovink, Norman Klein, Vivian Sobchack, 2 In 2002 Hatje Cantz Publishers published The Complete Artinact 1994-99 CD-ROMamagazine on DVD-ROM. 4 Peter Weibel, Slavoj Zizek, Erkki Huhtamo, Margaret Morse, Alex Galloway, Matt Fuller, and many others (and this is just the people who write in English or available in English translation; internationally, the list of brilliant commentators on techno-culture goes on and on.)3 I think that each of the four theoretical books I selected has something unique about it. Benedikt’s best-selling collection is exemplarily in bringing together theorists, artists and computer designers or early cyberspaces such as Habitat – and somehow forcing the designers to write clear and theoretically sophisticated descriptions of their projects and research programs. The best of the anthologies and conferences on digital arts and new media culture try to create such a mix, but few succeed in doing it the way Cyberspace: First Steps did. Kittler is probably the most important media theorist after McLuhan, and in his master opus Discourse Networks he is able to accomplish another difficult “convergence” trick – bringing together “the best of” what in the US called “critical theory” (in his case it is Lacan and Foucault) with his own brilliant ideas about the effects of communication networks and media recording/storage/access technologies on culture.
Recommended publications
  • Interview with Peter Weibel, Chairman and CEO of the Zentrum Fur Kunst Und Medientechnologie in Karlsruhe, Germany
    Interview with Peter Weibel, Chairman and CEO of the Zentrum fur Kunst und Medientechnologie in Karlsruhe, Germany. He was interviewed by Sarah Cook at ZKM , September 2000. The interview is divided into two parts: the first concerns curatorial practice, and the second institutional questions. Part One: Curatorial Practice. Sarah Cook began by describing the idea behind CRUMB and asking how Peter Weibel approached new media curating, both in regards to the exhibition net_condition and more generally. He began by outlining what he sees as the four basic principles of curating media art on the net. PW: The first task of a curator working on the web is to find out the criteria of what work is only adequate for the net and to develop criteria for works that are non- local. Most of the artworks in history are locally bound, which means the spectator and the artwork itself share the same space. Even with media works this is important Ð in a media installation you share the same space. For the first time with the net, the spectator and the work are dislocated, separate; they don’t share the same space. It is important to look for works and the criteria that are appropriate to this condition. The next thing is the classical function of a curator: selection. Anybody could go to any artist and say, “I want to see your work.” Hypothetically they have the possibility to travel to Germany and Italy and England and have a list of artists and have addresses and phone numbers. But there are social obstacles Ð namely, artists will not open their doors to just anybody because the artist is also an entrepreneur Ð he needs money, he needs managing Ð so he will only open his doors to people he thinks are useful to him.
    [Show full text]
  • Hypertext Semiotics in the Commercialized Internet
    Hypertext Semiotics in the Commercialized Internet Moritz Neumüller Wien, Oktober 2001 DOKTORAT DER SOZIAL- UND WIRTSCHAFTSWISSENSCHAFTEN 1. Beurteiler: Univ. Prof. Dipl.-Ing. Dr. Wolfgang Panny, Institut für Informationsver- arbeitung und Informationswirtschaft der Wirtschaftsuniversität Wien, Abteilung für Angewandte Informatik. 2. Beurteiler: Univ. Prof. Dr. Herbert Hrachovec, Institut für Philosophie der Universität Wien. Betreuer: Gastprofessor Univ. Doz. Dipl.-Ing. Dr. Veith Risak Eingereicht am: Hypertext Semiotics in the Commercialized Internet Dissertation zur Erlangung des akademischen Grades eines Doktors der Sozial- und Wirtschaftswissenschaften an der Wirtschaftsuniversität Wien eingereicht bei 1. Beurteiler: Univ. Prof. Dr. Wolfgang Panny, Institut für Informationsverarbeitung und Informationswirtschaft der Wirtschaftsuniversität Wien, Abteilung für Angewandte Informatik 2. Beurteiler: Univ. Prof. Dr. Herbert Hrachovec, Institut für Philosophie der Universität Wien Betreuer: Gastprofessor Univ. Doz. Dipl.-Ing. Dr. Veith Risak Fachgebiet: Informationswirtschaft von MMag. Moritz Neumüller Wien, im Oktober 2001 Ich versichere: 1. daß ich die Dissertation selbständig verfaßt, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt und mich auch sonst keiner unerlaubten Hilfe bedient habe. 2. daß ich diese Dissertation bisher weder im In- noch im Ausland (einer Beurteilerin / einem Beurteiler zur Begutachtung) in irgendeiner Form als Prüfungsarbeit vorgelegt habe. 3. daß dieses Exemplar mit der beurteilten Arbeit überein
    [Show full text]
  • Friedrich Stadler, Leslie Topp, Chair: William Johnston
    1 Workshop VIENNA 1900: CURRENT DISCOURSES ON FIN-DE-SIECLE VIENNA International Center, University of New Orleans (UNO), October 24-25, 2016 SLIDE 1 Roundtable IV: Interdisciplinary Models Friedrich Stadler, Leslie Topp, Chair: William Johnston Friedrich Stadler (University of Vienna): “The Sciences and Humanities as Culture” SLIDE 2 INTRODUCTION Based on William Johnston’s path breaking trilogy of books on Austrian-Hungarian intellectual history I will focus mainly on the role of philosophy, the sciences and humanities from a trans- and interdisciplinary point of view. (Of course, the publications of Carl Schorske, Allan Janik/Stephen Toulmin, Edward Timms, David Luft, and Steven Beller and many others are to be mentioned as essential background knowledge). SLIDES 3-4: Constructive Unrest. Austrian Conference on Contemporary History Graz 2016 According to the new model of the “Long 20th Century” in Austrian history (from Habsburg Monarchy to the Republic) in general, and as applied to the history of the University of Vienna, specifically, I make a plea for this conception more or less also regarding Vienna 1900 / Fin-de-Siécle Vienna. This can be illustrated by a short report on a panel dealing with the “Paradigmenwechsel zum langen 20. Jahrhundert” (paradigm shift on the long 20th century) at the last “Österreichischer Zeitgeschichtetag” (ÖZT) in Graz, June 2016. SLIDE 5: “Wissenschaft als Kultur” (Frankfurt 1995) Following this perspective, I will argue for the need to cover all sciences (including humanities) under the umbrella of (Austro-Hungarian) culture, which seems to me the main deficit in the related historiography. Instead, the image of all sciences as an essential part of culture (Wissenschaft als Kultur) is leading up to transgressing disciplinary boundaries.
    [Show full text]
  • Cybernetics in Society and Art
    Stephen Jones Visiting Fellow, College of Fines Arts, University of NSW [email protected] Cybernetics in Society and Art Abstract: This paper argues that cybernetics is a description of systems in conversation: that is, it is about systems “talk- ing” to each other, engaging in processes through which information is communicated or exchanged between each system or each element in a particular system, say a body or a society. It proposes that cybernetics de- scribes the process, or mechanism, that lies at the basis of all conversation and interaction and that this factor makes it valuable for the analysis of not only electronic communication systems but also of societal organisation and intra-communication and for interaction within the visual/electronic arts. The paper discusses the actual process of Cybernetics as a feedback driven mechanism for the self-regulation of a collection of logically linked objects (i.e., a system). These may constitute a machine of some sort, a biological body, a society or an interactive artwork and its interlocutors. The paper then looks at a variety of examples of systems that operate through cybernetic principles and thus demonstrate various aspects of the cybernetic pro- cess. After a discussion of the basic principles using the primary example of a thermostat, the paper looks at Stafford Beer's Cybersyn project developed for the self-regulation of the Chilean economy. Following this it examines the conversational, i.e., interactive, behaviour of a number of artworks, beginning with Gordon Pask's Colloquy of Mobiles developed for Cybernetic Serendipity in 1968. It then looks at some Australian and inter- national examples of interactive art that show various levels of cybernetic behaviours.
    [Show full text]
  • ZKM Exhibitions and Research Projects in 2021 at the ZKM 2021
    ZKM Exhibitions and Research Projects in 2021 January 2021 At the ZKM 2021 will be shaped predominantly by research and the ZKM Exhibitions and Research Projects productive symbiosis of artificial intelligence, sustainability, and Data Art. in 2021 Highlights will be the exhibition BioMedia (BioMimetic Media) and the Location project The Intelligent Museum. ZKM Karlsruhe With the exhibition Critical Zones, which opened in spring 2020 and has now Press Contact Dominika Szope been extended until August 8, 2021, and our call for a new Earthly politics the Spokesperson ZKM has demonstrated it is one of the »Guardians of Gaia« (Peter Weibel). In Tel: +49 (0)721 8100 1220 2021 the ZKM’s biophilic program continues with the exhibitions BioMedia and E-Mail: [email protected] The Artwork as a Living System as well as the project Driving the Human. The www.zkm.de/en/presse unanticipated Covid-19 crisis has brought home to us in a drastic way how very ZKM | Center for Art and Media Karlsruhe Lorenzstrasse 19 necessary this biophilic program is: as artists, scientists, art lovers, and 76135 Karlsruhe philosophers (friends of wisdom) we shall all become friends of life (biophiles) Germany more intensely than ever before. Founders of the ZKM »In a hundred years the question will be asked: What happened in the 21st st century? The answer will be: The 21 century began with a global pandemic in 2020, the Covid-19 virus crisis.« (Peter Weibel, December 2020) Partner of the ZKM Last year was dominated by Covid-19. For the ZKM this meant moving even more of its activities into the digital realm.
    [Show full text]
  • Exhibition: the Vienna Circle - Exact Thinking in Demented Times
    ! ! Exhibition: The Vienna Circle - Exact Thinking In Demented Times. As part of the 650 year anniversary of the University of Vienna, the exhibition „The Vienna Circle“ will be displayed at the University’s main building from May 20th, 2015 until October 31st, 2015. The Vienna Circle, a group of outstanding thinkers, played an important part in Philosophy and science in the 1920’s and 1930’s: The group’s discussions and philosophical approaches set the cornerstones for important developments in a multitude of fields of science. On Tuesday, May 19th, at 5:00pm the exhibition will be opened by the rector of the University Vienna Heinz W. Engl. Other distinguished speakers include major Michael Häupl, the president of the Austrian Academy of Science Anton Zeilinger, Nobel Prize Winner Martin Karplus as well as Media Artist Peter Weibel. The exhibition was curated by Karl Sigmund and Friedrich Stadler. After leaving Vienna, the exhibition will be displayed in Karlsruhe. „Today, the Vienna Circle would be considered an internationally influential science Think Tank. Its members stood for the free development of science, scientific and rational analysis in politics and culture as well as the modernization of the society they lived in. The achievements of the members of the Vienna Circle still have impact on today’s science and research areas: the discussions of the Vienna Circle eventually led to innovations like the basics of mathematical logic as well as theoretical computer science“, says Heinz W. Engl, rector of the University of Vienna. The objects and documents mostly focus on the philosophical questions the Vienna Circle discussed: How can the efficiency of mathematics be explained? What is the role of logical propositions? What is the basis of scientific knowledge? The greatest challenge for the curators was to „visualize philosophy“: making the abstract, philosophical work of the Vienna Circle accessible to and understandable for a broad audience.
    [Show full text]
  • The Allusive Eye. Illusion, Anti-Illusion, Allusion
    The Allusive Eye. Illusion, Anti-Illusion, Allusion Peter Weibel Center for Art and Media (ZKM) in Karlsruhe In 1969 an exhibition was held at the Whitney Museum of American Art with the significant title Anti-Illusion: Procedures/Materials, at which works of Andre, Asher, Benglis, Morris, Nauman, Reich, Ryman, Serra, Snow, Sonnier, Tuttle and others were shown. This exhibition summed up an important tendency of the neo-avant-garde, but especially of the avant-garde of the media of film and video. The 1960s saw a paradigm change from illusion to anti-illusion. All the achievements of the avant-garde of the 1950s and 1960s drew on the development of materials, not only of artistic but also of extra-artistic materials. In the 1950s Jean Dubuffet smeared his canvasses with sand and stones. Robert Smithson and Michael Heizer went into the countryside and created huge sculptures of earth. The inner world of materials formed the canon, issued the directives for the development of processes. Processes of materials, whether of lead, felt, fat, oil colors, water, ice, air, fire, earth, etc., shaped the form and non-form of the picture or the sculpture. These processes of materials replaced the work of art as a product, and created at least the conditions for the product. From avant-garde music, Fluxus and happenings through Action Art, Body Art and Arte Povera to Land Art, Process Art and Conceptual Art, artists have been testing the possibilities and options of materials, whether of the piano, of light, of oil paints, of texts, and so forth, in order to create from these their ephemeral works.
    [Show full text]
  • Anatol Stern and Stefan Themerson. on Europa And
    Anatol Stern and Stefan Themerson and Stefan Anatol Stern Janusz Lachowski ANATOL STERN AND STEFAN THEMERSON. ON EUROPA AND THE FRIENDSHIP BETWEEN THE TWO AVANT-GARDE ARTISTS ON THE BASIS OF THEIR MUTUAL CORRESPONDENCE FROM THE YEARS 1959–1968 Anatol Stern (1899–1968) was a poet, one of the founders of Polish futur- ism, a prose and drama writer, literary critic, essayist and author of memo- rial sketches1 as well as a prolific scriptwriter and film journalist of the Pol- ish interwar period. His wife Alicja (1905–1993) was a translator of Russian literature, theatre critic, and columnist, also participating in film script writing. Towards the end of her life, she wrote a children’s book. Following her husband’s death, she took care of his manuscript collection, preparing previously unedited texts2 for publication and making their home archive available to literary researchers interested in Stern’s writing. Stefan Themerson (1910–1988) was a novelist, poet, essayist, philoso- pher, author of children’s literature, and composer; together with his wife Franciszka (1907–1988), he made experimental short films in interwar 4 Vol. 2016 Libraries Polish 1 Cf. i.a. A. Stern, Legendy naszych dni [The Legends of Our Days], Kraków 1969; idem, Poezja zbuntowana. Szkice i wspomnienia [Rebellious Poetry. Essays and Memories], revised and expanded edition, Warszawa 1970; idem, Głód jednoznaczności i inne szkice [The Craving for Unambiguity and Other Essays], Warszawa 1972. 2 Cf. A. Stern, Dom Appolinaire’a. Rzecz o polskości i rodzinie poety [Appolinaire’s Home. On the Poet’s Polishness and His Family], prepared for printing by A.
    [Show full text]
  • Review Topography of Sound
    REVIEW TOPOGRAPHY OF SOUND ART BERTRAND CHAVARRÍA- ALDRETE Lund University [email protected] https://doi.org/10.34632/jsta.2021.9806 1 Texts by: Achille Bonito Oliva, Weibel, P. (Ed.) (2019). Sound Art: Sound Dmitry Bulatov, Germano Celant, Seth as a Medium of Art. MIT Press1. Cluett, Christoph Cox, Julia Gerlach, Ryo Ikeshiro and Atau Tanaka, Caleb Kelly, Brandon LaBelle, Christof Migone, László Moholy-Nagy, Daniel vol. 13, n. 1 (2021): pp. 106-109 Muzyczuk, Tony Myatt, Irene Noy, ABSTRACT Giuliano Obici, Carsten Seiffarth and Bernd Schulz, Başak Şenova, Linnea Semmerling, Morten Søndergaard, Alexandra Supper, David Toop Austrian artist and director of ZKM Center for Art and Media in Karlsruhe, and Adam Parkinson, Peter Weibel, Dajuin Yao, Siegfried Zielinski. Germany, Peter Weibel (Odessa, 1944), curates a book/catalogue of the mythical exhibition Sound Art, Sound as Medium of Art, that took place between March 2012 and February 2013 in Karlsruhe, with nearly one thousand images of sound art pieces. Along with a very detailed historical trace of sound as a form of art, the book contains different texts and essays about sound and its history written by renowned and iconic figures in art all articulated in five main sections. A very im-portant work for any artist or amateur interested in sound and music. Journal of Science and Technology of the Arts, of the Journal of Science and Technology Keywords: Sound art; Peter Weibel; ZKM; Exhibition; Catalogue. 107 Faithful to a post-conceptual art practice, Austrian artist Peter Weibel curates an “Exhibition catalog” (sic) with nearly a thousand images and descriptions in the form of a book about Sound Art.
    [Show full text]
  • Peter Welbel Expanded Cinema, Video and Virtual Environments
    Peter Welbel Expanded Cinema, Video and Virtual Environments top Hans Richter Rhythm 23 1923 16mmfilm b/ w, silent 3 min film strip cour tesy CeCi le Starr, New Yor k bottom Kasimir Malevlch Artis tic and SCientific Film ­ Painting and Archit ectural Concerns - Approaching the New PlastiC r Architectural System 1927 manuscript page from a t hree-page film script priva te collect ion Avant- garde Film In most hi stories of cinema t he avant-garde f ilm oc­ 1 Kaslmir Malevich, ·Painterly Laws In the Problems of CIn­ cupies a minor and marginal position. In the interwar ema: in Cinema and Culture period of the twentieth century, avant- garde film was (Kino i Kultura), nos. 7- 9, 1929. initially seen as a spin - off or by-product of visual art movements li ke Cub ism, Futurism, Suprematism, Co n­ 2 This history is described and • ,.... ......... C. l . -r ,..... ~ #"I' .. ~ ...... documented In the follOW ing structivism, Dadaism or Surrealism. Linked to these .1" '1>14~. 1",,_ • j,/".",,- "" ~ books: Sheldon Renan, movements were abstract or pictorial animat ions as An Introduction to t he America n Underground Film, well as mont age and kinet ic f il ms by art ists like Fer­ ~ leJ Dutton, Ne w York, 1967; nand Leger, Bruno Corra, Kasimir Malevich,l Viking P. Adams Sitney (ed.). Film Culture Reader. Praeger, Eggeling, Hans Richter, Laszl6 Moholy-Nagy, Oskar New York,i970, Ge ne Young­ Fischinger, Man Ray, Marcel Duchamp, Len Lye, Lotte blood, Expended Cinema, Dutton, New Yo rk,1970: Re ininger, Berthold Bartosch, Alexan der Alexeieff and Parl<er Taylor, Underground Cla ire Parker.
    [Show full text]
  • En FAMA ET INFAMIA and Dedicates the Special Exhibition in Spring to One of Austria’S Most Important Contemporary Female Artists: VALIE EXPORT
    VALIE EXPORT In 2018, Ambras Castle, Innsbruck focuses on outstanding women FAMA ET INFAMIA and dedicates the special exhibition in spring to one of Austria’s most important contemporary female artists: VALIE EXPORT. DIE INFAMIE DER Namen- Feminist artwork from the 1960s and 70s is experiencing a phase LOSEN [The INFAMY OF of renewed international relevance, and VALIE EXPORT’s media THE NAMELESS] and performance art counts among the most radical European positions of that time. SPECIAL EXHIBITION 22TH MARCH TO 30TH JUNE 2018 This exhibition marks the first time the artist has exhibited alongside a DAILY, 10 A.M. TO 5 P.M. historical collection. Her works engage in conversation with Archduke Ferdinand II’s (1529-1595) Ambras collection, offering another view of its objects and exhibition history, wherein the FAMA — the history of illustrious and victorious personages — encounter the INFAMIA — history’s insubordinate, marginalized, and oppressed individuals. This furthermore creates a stimulating and surprising convergence of the male principal of dominance with the female principal of submission in gestures of empathetic humanity and rebellion, set in the present and in the past. The special exhibition, curated by Sabine Folie, takes place as Picture: part of the Innsbrucker Osterfrühling and is accompanied by a VALIE EXPORT HEADS – APHÄRESE, 2002 (DeTail) bilingual (German/English) catalogue. COURTESY VALIE EXPORT © KHM-MUSEUSVERBAND Schloss Ambras Innsbruck, Schlossstraße 20, 6020 Innsbruck, Austria [email protected], +43 1 525 24 - 4802, www.schlossambras-innsbruck.at, www.facebook/schlossambras VALIE EXPORT Born as Waltraud Lehner in 1940 in Linz, Austria, VALIE EXPORT attended the Vienna School of Arts and Crafts and graduated from the Vienna HBLVA trade school for the textile industry in 1964.
    [Show full text]
  • Dare to Be Digital: Japan's Pioneering Contributions to Today's
    Dare to be Digital: Japan's Author Jean Ippolito + 1.808.933.0819 Pioneering Contributions to Today's Art Department [email protected] International Art and Technology University of Hawaii at Hilo 200 West Kawili Street Movement Hilo, Hawaii USA 96720 A number of pioneering artists began experimenting with the com­ neer), Makoto Ohtake (architectural engineer), Koji Fujino (systems puter as a visual arts medium in the late 60s and early 70s when engineer), and Fujio Niwa (systems engineer). Komura was the only most fine-arts circles refused to recognize art made by computers as artist of the group, but the group's activities, as a whole, were of an a viable product of human creativity. This was the era of computer avant-garde art nature. All of the members were in their early twen­ punch cards, when the visual results of algorithmic input were noth­ ties. Reichardt describes their aim (stated in the group's manifesto) ing more than line drawings. Many of the forward-looking artists who as the restoration of man's innate rights of existence by means of were experimenting with this technology were not taken seriously by computer control.3 Most of their art pieces involved the transforma­ the established art venues, and were, in fact, often ostracized by tion of simple line drawings of well-known images, as in Running their peers.' More recently, the work of computer artists has begun to Cola is Africa, in which a contour drawing of a running man changes appear in general textbooks on the history of art, but each book fea­ to an outline of a Coca-Cola bottle and then to a line drawing of the lures one or two completely different artists.
    [Show full text]